Living in a Mythocracy: Projecting 2025

From the comic Undiscovered Country

If one looks at the Executive Orders passed by Trump in the first week of his second presidency, and manages to look past the horror, one can see their utter consistency in terms of their vision of government, history, and society. This consistency makes up a universe, what could be called the Fox News Extended Universe. In this universe undocumented immigrants, or "illegals" as they are called, are illegal through and through, the laws they broke to get or stay in this country puts them outside of any law. They can only be harbingers of crime. In this universe DEI, or really any attempt to address this country's history of racism since the civil rights act, can only be understood as racism. To mention race is to divide by race, and the true victims of this racism are the white men and women who have lost jobs, or at least social standing, by having to treat others as equals. In this universe, public health can only be a secret grab for power, and the CDC, WHO, etc., are nefarious tools of domination. In this universe the federal government spends too much money on foreign countries, pointless research, and, as The Simpsons put it the "perverted arts."

Requiem for a Training Montage: Or, Everyone's Crazy for a Self-Made Man

The other day, out of a combination of nostalgia, insomnia, and tribute to Carl Weathers I decide to watch Rocky III. I am not sure why I picked this one. Perhaps because it is one of Weathers' best as he goes from rival to partner, it is also where Rocky goes from scrappy seventies film to full on eighties excess, a process that would be completed in Rocky IV. It also got me thinking of training montages.

The Dialectics of Obedience: Vardoulakis, Balibar, Macherey

Halloween in Houston 

The Following is a response to Vardoulakis book Spinoza, The Epicurean that I gave at SPEP. I previously blogged about the book. 

One of the many merits of Dimitris Vardoulakis’ Spinoza, the Epicurean: Authority and Utility in Materialism is that it focuses on the question of obedience as central to the Tractatus Theologico-Politicus. Obedience is what differentiates revelation from knowledge, scripture from philosophy, action from belief. On one side, the first of these terms, there is obedience, that which falls under the control the state, and on the other freedom, the domain of philosophy. However, such an assertion would suggest obedience is a simple matter, that the line between obedience and freedom can be sharply drawn. Vardoulakis suggests that obedience must be understood through a dialectic of authority and freedom. As Vardoulakis describes this dialectic: 

Any Bird Whatsoever: on Fujita's Le Ciné-Capital: D'Hitchcock à Ozu

In his conversations with François Truffaut Alfred Hitchcock insisted that the birds in the film of the same name had to be ordinary birds, seagulls, ravens, sparrows, and not the more spectacular, and arguably more frightening hawks and eagles. This particular anecdote is relayed in Fujita's Le Ciné-Capital and in some sense it functions as the lynchpin that connects Deleuze's understanding of film, Marx's understanding of Capital, and revolutionary politics.

The World as Affect and Institution: On Lordon's Vivre Sans?

Frédéric Lordon's latest book, Vivre Sans? Institutions, Police, Travail, Argent... is a conversation with Félix Boggio Éwanjé-Épée (who among other things runs the great review Période), although one in which Lordon's responses to Éwanjé-Épée's questions. Lordon uses the reflection to situate his particular Spinozist/Marxism (perhaps more adequately grasped as a kind of left Spinozism) with respect to both traditions of radical thought, Badiou, Deleuze, Agamben, and Rancière, and the current radical movements, Gilet Jaunes, ZAD, and the invisible committee. In doing so Lordon  not only begins to clarify his own conception of a politics of  affects and institutions, but also continues to develop a Spinozist (rather than a Marxist-Spinozist) concept of politics.

Becoming Spider-Man: Deleuze and the Superhero Film

In the end of Cinema, Volume One: The Movement Image writes the following about the demise of the movement image:

Certainly people continue to make [movement image] films: the greatest commercial successes always take that route, but the soul of cinema no longer does. The soul of the cinema demands increasing thought even if thought begins by undoing the systems of actions, perceptions, and affections on which the cinema had fed up to that point. We hardly believe any longer that a global situation can give rise to an action which is capable of modifying it—no more than we believe that an action can force a situation to disclose itself, even partially.

It seems to me that Deleuze's picture of the movement image lingering on might be one way to make sense of the superhero film.

Logic of Alternation: From Mind and Body to Material Conditions and Ideology

Presented at McGill September 2018

This is a longer version of something I posted here, presented for a discussion of Chantal Jaquet's Affects, Actions, and Passions in Spinoza. 

I intend to approach Chantal Jaquet’s interpretation of the mind and body in Spinoza somewhat obliquely by examining its possible implications for a social theory. In doing so I am following a fairly recent tendency to view Spinoza as not just an important political thinker, but also one whose account of affects, imagination, and knowledge offers profound insight on social and political life. I am thinking here explicitly of Yves Citton and Frédérique Lordon's Spinoza et les science sociales, but also more broadly Jaquet’s own work on transclasses which uses a Spinozist anthropology and ontology to examine the reproduction and nonreproduction of social relations. That is not the book that we are here to discuss, so I would like to begin my remarks on Affects, Actions, and Passions in Spinoza by putting forward something of an axiom, every interpretation of the relation of mind and body in Spinoza necessary has profound implications for how one thinks of social and political relations. 

Three Interpretations In Search of a Proposition: A Sketch of Spinozist Materialism

Possibly a Portrait of Spinoza 

As I have stated on this blog, and elsewhere, a materialist reading of Spinoza perhaps begins with EIIP7 and its related demonstrations and scholium. "The order and connection of ideas is the same as the order and connection of things." In place of hierarchy and causal impact Spinoza places ideas and things in a relation of identity and non-identity. How exactly to articulate this relation has lead to multiple interpretations. I would like to highlight three, Deleuze, Macherey, and Jaquet. The selection and order of authors reflects my own encounters and reading, the seemingly contingent order of nature, and not a necessary conceptual progression. 

The Western In Reverse: On Hell or High Water

Gilles Deleuze writes of the western “…the American cinema constantly shoots and re-shoots a single fundamental film, which is the birth of a nation-civilization…” Placed in the terminology of a different philosopher, we could say that this "birth" is the moment where the Repressive State Apparatus, or violence, is supplemented and supplanted by the order of ideology, by the Ideological State Apparatuses. Such philosophical embellishments do not tell us anything new. That the Western is about the transformation from violence to order is on the same interpretive register as the common wisdom that the monster of the horror film stands in for some actually existing horror; it is so integral to the genre it is barely an interpretation at all. Everyone knows that "When the legend becomes fact, print the legend" and that the gunslinger must, at the end ride off into the sunset, because the world he has created, a world of law and order, has no place for the violence that is its midwife. 

Reading Deleuze and Guattari as Marxist/Spinozists: On Guillaume Sibertin-Blanc's State and Politics

Guillaume Sibertin-Blanc's Politique et État chez Deleuze et Guattari: Essai sur le matérialism historico-machinic has been translated into English as State and Politics: Deleuze and Guattari on Marx. In the past twenty years since I first discovered Deleuze and Guattri I have gone from avidly reading everything that came out on them to barely ever picking up a book on Deleuze. At first the number of books on Deleuze  was a slow trickle, but as the trickle gave way to a gusher of canonization, I have become much more selective, even falling behind on some of the better books. I have a longer review of Sibertin-Blanc's book coming out with Historical Materialism, but I thought that I would post one of my responses to the book in order to mark its translation, just to suggest that it is definitely not one to skip.  

The Work Image: Montage in Better Call Saul and Breaking Bad

Gilles Deleuze stated that montage is an "indirect image of time," in Vince Gilligan's Breaking Bad and Better Call Saul it is an indirect image of work, or of a temporality dominated by work. I am primarily interested in the latter show, having blogged enough about the first. I just wanted to note that it is one of the stylistic points of continuity between the two shows; that and the odd close up and point of view shots. As much as the basic form remains the same the shifting tone and content of the two shows, from drug empire to the world of law firms, shifts the way the montages function, becoming less about the fantasy of accumulation and more about the particular frustrations and hopes of work.

The Power of the False: On Fargo

Fargo opens with a claim that the story the film tells is based on a true story. As is well know by anyone who has looked into the story this claim is a lie. What is less remarked upon, however, is the way in which much of the film is structured around a series of lies. These lies move beyond the ordinary deceptions to become part of what Deleuze calls "the power of the false."

Tales of Post-Apocalyptic Madness: On Subjectivity and Society in Mad Max

Mad Max perhaps invented the reboot. One of the most interesting things about the Mad Max films is the way in which the backstory has changed from film to film. Nuclear war is not even mentioned in the introductory voice over of The Road Warrior only to be included in the backstory of Mad Max Beyond Thunderdome. Mad Max: Fury Road changes the backstory as well, adding "the water wars," to the blood and fire that have made the apocalypse. It is possible to argue that each film reflects changing nature of apocalyptic fears, from gasoline shortages, to nuclear war, and finally to dwindling water supplies. We get the apocalypse we fear.

From Desiring Production to Producing Desire: Between Anti-Oedipus and Lordon

Art by Fernando Vicente

Upon rereading and teaching Lordon's Capitalisme, Désir, et Servitude (or, as it is called in English, Willing Slaves of Capital) I was struck by certain productive similarities between the book and Deleuze and Guattari's Anti-Oedipus. These similarities are not of influence; Lordon is much more influenced by recent Spinozist thinkers such as Bove and Sévérac (even embracing the latter's critique of Deleuze) than he is by Deleuze's reading. Nor are the similarities of a shared point of reference, despite Deleuze and Guattari's invocation of Spinoza in the opening pages Anti-Oedipus is not a very Spinozist book. Rather the connection is one of a shared problem, or, more to the point it brings out particular elements of Deleuze and Guattari's book obscured by the '68 reading (what a crazy book!) or the more current, accelerationist interpretation.

Ends of Man: Cynicism and Sentiment in Nightcrawler and Interstellar

OK. I am going to make this quick. I saw two films this weekend, Nightcrawler and Interstellar,  and since I am me, many people expected me to blog about them. I am way too busy for such things, but like Louis Bloom (Tiqqun reference?) pictured above, I aim to please my fans and my own craven ego, I thought that I would try a quick post wrapping up my impressions of both films. 

The Affective Economy: Producing and Consuming Affects in Deleuze and Guattari

Presented at Deleuze and the Passions

Erasmus University Rotterdam

The thought of Gilles Deleuze (and Félix Guattari) bears on ambiguous relation with respect to the “affective turn” in social and political thought that it supposedly helped initiate. This ambiguity touches on the very role and meaning of affects. From Deleuze’s writings on Nietzsche and Spinoza through the collaborations of Capitalism and Schizophrenia, Deleuze and Guattari insist on the central role of the affects, joy, sadness, fear, and hope, as structuring individual and collective life. In that sense, Deleuze and Guattari are rightfully hailed as central figures in a turn towards affect. However, if, as some argue, the “affective turn” is a turn towards the lived over the structural and the intimate over the public, then Deleuze and Guattari’s thought has a much more complex relation to affects. The broader polemical target of Deleuze and Guattari’s Anti-Oedipus, beyond the specific polemics with psychoanalysis, is any explanatory theory that would reduce social relations to expressions of individual passions and desires. Deleuze and Guattari’s claim that there is only “the desire and the social, and nothing else” is oriented against such individualistic accounts of subjectivity. Moreover, Deleuze and Guattari define capitalism as a socius that it reproduces itself in and through the encounter of abstract quantities of money and labor power, and as such is  is indifferent to the beliefs, feelings, and meaning that we attach to it. Thus, if affect is central to Deleuze and Guattari’s thought it is necessary to add the caveats that affect must be thought of as anti-individualistic, as social rather than intimate, and as impersonal, reflecting the abstractions that dominant life. 

Affect and/or Emotions: Differentiation or Dialectic

Theories of affect tend to articulate the term affect in relation to some idea of emotion. Perhaps the locus classicus of this distinction is to be found in Brian Massumi's work on affect. As Massumi writes,

"An emotion is a subjective content, the sociolinguistic fixing of the quality of an experience, which is from that point onward defined as personal. Emotion is qualified intensity, the conventional consensual point of insertion of into intensity into semantically and semiotically formed progressions, into narrativizable action-reaction circuits, into function and meaning. It is owned and recognized. It is crucial to theorize the difference between affect and emotion."

Commonalities: On Gilbert's Common Ground

Full disclosure: I met Jeremy Gilbert at a Deleuze conference in Wales in the summer of 2008. He gave an interesting paper on Deleuze, Guattari, and Gramsci and I ended up talking to him at pub. The conversation was one of shared interests that went beyond Deleuze, it was a Deleuze conference after all, to include Simondon, transindividuality, and the broader problem of reimagining collectivity in individualistic (and individuated) times. As anyone in academia knows, the experience of meeting someone with shared interest is often ambivalent. There is the joy of finding someone to talk to, of feeling less alone in the wilds of academia, coupled with the sadness of feeling less original, less insightful. The latter feeling is of course intensified by a publishing culture that is predicated less on collective projects and more on developing a highly individuated name for oneself. In the years since then, as our projects progressed (his made it toprint first) we joked about constituting a new school of thought, Transindividual Ontology and Politics (TOP)?

Personalized Ideology (or Ideology Personified): Silva's Mood Economy

Do not demand of politics that it restore the “rights” of the individual, as philosophy has defined them. The individual is the product of power. What is needed is to “de-individualize’ by means of multiplication and displacement, diverse combinations. The group must not be the organic bond uniting hierarchized individuals, but a constant generation of de-individualization.  Michel Foucault, Preface to Anti-Oedipus. 

In the past few weeks I have returned again and again to the idea of "negative solidarity" that I outlined on this blog. I found myself mentally bookmarking news reports and articles that seem to be evidence of hostility to any collective organization for wages or benefits, not to mention larger or more structural transformations. The affect of ressentiment, the distinct sense that someone somewhere was benefiting at your expense, seemed prevalent. (Of course the "someones" in this situation are always those on social welfare programs, state employees, etc., never capitalists, investors, etc.) However, negative solidarity risked having all of the characteristics of what Althusser called a "descriptive theory," a sophisticated sounding recasting of what one already knows and thinks. The dangers of descriptive theories is that they provide a moment of recognition, ("That is it, dude; totally,")but no way to move forward. So the question which I returned to again, is how to account for the genesis and constitution of negative solidarity, how to move beyond description. This is a question of socio-political theory, but it is a necessary precondition of political action as well.  Negative Solidarity is in that sense another name to the barrier of any politics whatsoever. 

The Production of Belief: From James to Lazzarato (and Back Again)

My approach to William James is necessarily oblique and eccentric. I am not a scholar of James or Pragmatism. My entire approach to James’ The Will to Believe is framed by a reference to it in the work of the post-autonomous thinker Maurizio Lazzarato. While such an approach is perhaps outside of the of James’ scholarship, the emphasis of on the shifting context as different philosophers and different historical moments is perhaps faithful to the spirit if not the letter of James’ writing. From this perspective philosophy is less a Kampfplatz, a particular battlefield between different positions, than a hall of mirrors in which the perspectives shift and change as time progresses.